About this video

• Video Title: 20251209 - Session-Expert -Marie Berthollet -la commercialisation et l’implantation locale
• Channel: christelle - Les Hang'ART
• Speakers: Marie Berthollet, Claire, Laurence, Sylvie
• Duration: 58:26

Overview

This video features Marie Berthollet, an art acquisition consultant, discussing strategies for artists to commercialize their work and establish a local presence. The session covers topics such as approaching potential collectors, utilizing local resources like printers and framing shops, the benefits of prints versus original works, and legal aspects like contracts and certificates of authenticity.

Key takeaways

• Local Networking is Crucial: Building a local network, including printers, framers, and other businesses, can lead to new opportunities and collaborations.
• Targeted Approach to Collectors: Identifying and understanding potential collector profiles (e.g., wealth managers, notaries, doctors) is essential for effective outreach.
• Leveraging Prints and Reproductions: Prints can be a viable option for fulfilling large orders or for clients with different budget considerations, and local printers can be valuable partners.
• Contractual Agreements are Important: Utilizing contracts for deposits, sales, and prescripters is recommended for clarity and protection.
• Building Relationships with Clients: Maintaining long-term relationships with collectors through follow-up and excellent service is key to repeat business.

Here are the answers to your questions, based on the video transcript:

1. What strategies does Marie Berthollet suggest for artists to establish a local presence and commercialize their work? Marie suggests focusing on local commercialization and implantation. This involves creating a local network, approaching one's first and second circles of contacts, and being a "Swiss army knife" by using both digital and on-the-ground communication. She also emphasizes understanding potential collectors and their needs, and leveraging local resources like printers and framers.

2. How can artists leverage local businesses, such as printers and framers, to expand their reach and sales? Artists can collaborate with local printers, who can act as good prescribers due to their own client base (hotels, restaurants). This can lead to opportunities like creating calendars or promotional materials. Similarly, partnering with local framers can offer opportunities for bulk order discounts. By working with local businesses, artists foster a reciprocal relationship that can lead to more business.

3. What advice is given regarding the use of prints versus original artworks for sales and commissions? For large orders, like the example of 37 paintings for a doctor's office, prints are suggested as a more feasible option than original works, both financially for the client and logistically for the artist. It's also suggested that artists could propose selling a "print-only project" rather than solely unique pieces. The transcript also mentions that prints, especially when framed, can significantly increase their price and reduce the artist's profit margin compared to selling fewer original works.

4. What are the key elements to include in different types of contracts, such as deposit contracts and prescripter contracts? For a deposit contract (e.g., for an exhibition in a decoration shop), important elements include the duration of the exhibition, a list of the works with photos, cartels, dimensions, titles, and values. It should also specify who handles transport and insurance. The more detailed the contract, the more protected the artist is. For a prescriber contract (commission-based), it should outline the percentage of commission (e.g., 30-40%), the duration of the agreement (e.g., one year), and specify who covers transport and framing costs, and whether the commission is based on the price before or after tax, or before or after production costs like framing.

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